f  ©oL  ©♦] 


uao-  3. 


BIBLICAL.   REPERTORY. 


www  wkmhrs. 


Vol.  I.l 


JULY,  1829. 


No.  3. 


©ottiewto 


I.    JAHN'S  HEBREW  COMMONWEALTH.    - 
II.    BROWN'S  THEORY  OF  CAUSE  AND  EFFECT.     - 

III.  THE    GENERAL  ASSEMBLY'S  BOARD   OF    EDU- 

CATION, AND   THE  AMERICAN  EDUCATION 
SOCIETY. 

IV.  PUBLIC  EDUCATION.        ------ 

V.    CHURCH  MUSIC,  &c. .  -        -        - 

VI.    ON  THE  SONSHIP  OF  CHRIST, 


307 
326 


344 
370 
410 
429 


PRIXCETOX,  X,  J. 


BERNARD    CONNOLLY,    PRINTER. 


1829. 


rt  t  hf     v  ts*4.  l  4  / 


PUBLIC  EDUCA 


TION.  40-3 


be  called  the  "  universal  solvent")  should  be  our  vernacu- 
lar tongue,  will  not,  we  think,  be  doubted. 

Now,  our  knowledge  of  the  precise  signification  of  the 
words  in  our  own  tongue,  and  of  the  modifications  of  mean- 
ing they  admit  by  shifting  their  connexion,  displays  itself, 
frequently,  in  a  kind  of  habitual  feeling  of  the  propriety  or 
impropriety  of  this  or  that  translation  of  a  given  word  in  a 
given  connexion.  With  an  intuitive  judgement,  we  accomo- 
date ourselves  to  the  circumstunces  of  the  case;  and  are 
frequently  sensible  of  some  incongruity,  without  being  able 
to  remedy  it.        \ 

It  needs,  thereftyfce,  no  labored  argument  to  prove,  that, 
on  the  one  hand,  a  tolerable  acquaintance  with  our  vernacu- 
lar language  is  requisiteHn  order  to  conduct,  understandingly 
and  advantageously,  the  exercise  of  "  translating ;"  and,  on 
the  other,  that  when  conducted  in  a  liberal  and  discrimina- 
ting manner,  it  induces  in  the  pupil  an  accurate  and  discrim- 
inating use  of  his  own  language. 

This  important  circumstance  is  too  apt  to  be  overlooked 
in  our  schools.  There  is  no  commanding  station  in  life, 
(and  such  stations  are  mostly  occupied  by  our  liberally  edu- 
cated men,)  where  a  discriminating  use  of  our  vernacular 
language  is  not  demanded,  or  where  a  perfect  command  of 
it  is  not  desirable.  And  in  what  way  can  we  more  easily 
and  pleasantly  acquire  -the  desired  fluency,  copiousness,  and 
accuracy,  in  the  use  of  the  English  tongue,  than  by  means 
of  a  judicious  management  of  the  exercise  of  "  translating,'* 
in  the  earlier  stages  of  education?  The  pupil  has  the 
thought  provided.  He  must  clothe  it  worthily.  The  un- 
furnished mind  finds  it  not  only  irksome,  but  comparatively 
unprofitable,  to  torture  a  vague  thought  of  its  own,  into  a  hun- 
dred Proteus-shapes,  to  pass  muster  for  a  "  composition,1' 
which,  turn  it  any  way  you  please,  whether  it  be  fish,  or 
bird,  or  beast,  is  old  Proteus  still.  In  "translating,"  the 
thoughts,  (and  those,  it  may  be,  of  the  most  ennobling  cha- 

3  t 


404  PUBLIC  EDUCATION. 

racter,)  are  furnished;  the  ideas  are  connected;  the  logical 
travail  is  over ;  the  empty  brain  is  not  racked  for  something 
to  talk  about. 

We  do  not  wish  to  discountenance  the  practice  of  original 
composition.  We  mean  only  to  say,  that  if  composition  is 
made  to  supersede  this  exercise  of  "  translating,"  one  of  the 
best  means  of  promoting  an  early  acquaintance  with  the 
powers  of  our  vernacular  language,  is  neglected.  Nor  do 
we  design  to  discourage  the  use  of  translations,  in  the  earli- 
est stages  of  the  study  of  a  language.  Nay,  if  the  views  we 
have  propounded  be  correct,  the  propriety  of  their  introduc- 
tion, at  a  proper  period,  to  a  certain  extent,  and  under 
skilful  management,  provided  the  translations  themselves 
be  rigidly  accurate,  can  harclly  be  doubted. 

This  view  of  the  exercise  of"  translating,"  as  a  literary 
exercise,  demanding,  and  at  the  same  time  promoting,  an 
acquaintance  with  our  vernacular  tongue,  may  be  still  fur- 
ther illustrated  by  a  comparison  of  the  idiomatic  phrases 
which  abound  in  all  languages.  One  peculiarity  of  these 
idiomatic  phrases,  is,  that  they  do  not  admit  of  a  literal 
translation  into  another  language;  which,  however,  unless 
unusually  defective,  will  supply  a  corresponding  idiom. 
Take  the  following  examples  : — 

The  Romans  said :  "  duos  parietes  de  eadem  jidelia 
dealbare"  which,  literally  translated,  runs  thus:  "to 
whitewash  two  walls  out  of  the  same  tub."  But,  pro- 
perly translated,  it  means :  "  to  kill  two  birds  with  one 
stone."  A  German  would  translate  the  phrase  thus : 
"  mit  einer  Klappe  zwey  Fliegen  schlagenf'>f  which  de- 
notes, literally,  "  to  kill  two  flies  at  one  slap." 

Again ;  a  German,  wishing  to  convey  the  idea,  that  the 
wife  rules  the  husband,  says:  "die  Frau  hat  den  Hut,'''' 
that  is,  "  the  wife  wears  the  hat"  which  we  translate, 
idiomatically,  "  the  wife  wears  the  breeches." 

Again  :  the  Romans  said  :  "  nodum  in  scirpor/uaerere." 


PUBLIC  EDUCATION.  40(J 

propensities  which  brutalize  our  species,  and  to  accelerate 
and  confirm  the  progress  of  civilization,  than  all  the  philo- 
sophy and  legislative  wisdom,  and  refined  literature,  which 
have  been  poured  upon  society,  in  ancient  or  modern 
times  ; — a  book,  whose  preservation  and  existence,  in  its 
present  unexceptionable  form,  is  itself  a  miracle; — a  book, 
in  fine,  whose  doctrines  are  so  sublime,  whose  morality  is  so 
pure,  whose  historical  narrative  is  so  simple  and  faithful, 
whose  various  portions  are  in  such  admirable  keeping,  whose 
prophetic  character  is  so  incontrovertibly  established,  whose 
instructions  look  forward  so  impressively,  to  the  consumma- 
tion of  all  things,  and  to  the  eternal  destination  of  man,  and 
whose  literary  execution  anticipates,  in  so  unequivocal  a 
manner,  the  boldest  imaginations  of  genius ; — if,  we  say, 
such  a  book  exists,  surely  it  may  be  said,  not  merely  to  in- 
vite, but  to  demand  the  early  attention  of  all  those  for 
whom  its  instructions,  its  warriings,  its  denunciations,  and 
its  promises,  were  designed. 

Those  instructers  are  not,  therefore,  mad  with  overmuch 
learning,  nor  misguided  by  a  wild  enthusiasm,  who  assert,  in 
an  affectionate,  consistent/and  parental  manner,  the  claims  of 
this  "  book  of  books  ;"  especially  if  their  Christian  deport- 
ment stamps  the  character  of  sincerity  upon  their  own  pro- 
fession. 

Let  us  not  be  understood  to  advocate  the  cause  of  any  par- 
ticular sect.  We  would  wish  the  instructer  to  set  before 
the  pupil  the  evidences  of  the  religion  of  Christ,  and  its  pa- 
ramount claims.  If  any  parent  should  object,  because  the 
claims  of  the  Episcopalian,  or  the  Methodist,  or  the  Bap- 
tist, or  the  Presbyterian,  are  not  urged,  we  would  reply,  it 
is  enough  for  the  instructer  to  introduce  the  pupil  into  the 
unappropriated  field  of  Christian  knowledge  and  principles, 
and  leave  it  to  the  parent  to  exert  whatever  influence  his 
judgment  may  suggest,  in  marshalling  him  under  any  pavticu 
lar  banner. 


OFPRHI^S 

410 


CHURCH  MLS1C. 


now  take  leave  of  the  subject  of  education, 
for  the  present,  with  many  thanks  to  the  Messrs.  Hill,  for 
the  benefit  already  conferred  by  them  on  the  community, 
and  with  some  regret,  that  our  own  notions  have,  in  the 
course  of  this  review,  put  themselves  forward  so  uncere- 
moniously, that  we  have  hardly  given  their  system  as  much 
space  as  its  magnitude  would  seem  to  demand,  or  cour- 
tesy require. 


V 

CHURCH  MUSIC, 


CONSIDERED  IN  REFERENCE  TO  ITS  ORIGINAL  DESIGN 


AND 


ITS  PRESENT  STATE. 


Those  who  believe  in  the  inspiration  of  the  Scriptures, 
will  admit,  that  Church  Music  was  instituted  for  the  purpose 
of  aiding  the  devotions  of  the  pious  worshipper.  It  is 
equally  evident,  also,  that  the  patriarchs,  the  prophets,  and 
the  apostles,  were  in  earnest  while  they  sang.  Their  songs 
had  constant  reference  to  circumstances  with  which  they 
were  conversant,  as  well  as  to  facts  which  were  then  seal- 
ed in  the  language  of  prophecy.  The  Psalmist  of  Israel, 
though  highly  favoured  of  God,  was  subject  to  the  most  re- 
markable vicissitudes  of  affliction  and  prosperity.  Yet  he 
ever  sung  out  of  the  overflowings  of  a  full  heart.  See  him 
convicted  of  his  deplorable  iniquity  under  the  reproof  of 
the  prophet  Nathan.  He  cries  out,  in  the  bitterness  of 
his  soul,  "Have  mercy  upon  mc,  O  God,  according  unto 
the  multitude  of  thv  tender  mereie?.  blot  out  my  trans- 


CHURCH    Jf.USIC.  411 

gressiotis."  See  him  at  another  time  banished  among  out- 
casts, from  the  commonwealth  of  Israel.  "As  the  hart 
panteth  after  the  water-brooks,  so  panteth  my  soul  after  thee, 
O  God.  My  soul  thirsteth  for  God,  for  the  living  God  ; 
when  shall  I  come  and  appear  before  God  ?"  Again,  while 
engaged  in  removing  the  ark,  he  exclaims,  "  Arise  O,  Lord, 
unto  thy  rest,  thou  and  the  ark  of  thy  strength.  Let  thy 
priests  be  clothed  with  righteousness  ;  and  let  thy  saints 
shout  for  joy."  On  another  occasion,  he  is  seen  pouring 
forth  his  full  heart  in  gratitude,  "  Bless  the  Lord,  O,  my 
soul,  and  all  that  is  within  me,  bless  his  holy  name.*'  Again, 
we  see  him  cast  down  in  despondency — "  Are  his  mercies 
clean  gone  forever  ?"  At  other  times,  he  breaks  forth  at  once 
into  the  highest  raptures,  "Let  every  thing  that  hath  breath 
praise  the  Lord.'" — "  Let  the  floods  clap  their  hands,  and 
let  the  hills  be  joyful  together  before  the  Lord."  Such 
were  the  themes  of  ancient  minstrelsy.  The  same  themes 
were  also  sung  by  the  apostles,  and  by  the  churches  which 
they  instituted ;  and  the  same  are  to  form  the  authorised 
basis  of  sacred  songs  down  to  the  remotest  ages  of  time. 

It  must  be  allowed  that  the  subject  of  singing  is  spoken  of 
less  frequently  in  the  New  Testament,  than  in  the  Old. 
Some  have  hence  derived  an  argument  in  favor  of  diminish- 
ing the  importance  of  the  institution.  But  if  their  reasoning 
is  sound,  it  will  follow,  that  in  proportion  as  the  established 
themes  of  song  are  better  appreciated,  amid  the  light  of  a 
gospel  dispensation,  they  may  be  sung  the  less  heartily,  and 
with  the  less  effect — the  very  reverse  of  which  is  true. 
If  the  early  Christians  paid  less  attention  to  the  cultivation 
of  psalmody  than  the  Jewish  nation  had  done  before  them, 
we  must  remember  also,  that  they  were  placed  in  peculiar 
circumstances.  They  had  not  synagogues  and  houses  of 
worship,  which  they  could  call  their  own.  They  were  per- 
secuted,'afflicted,  tormented,  driven  from  city  to  city ;  with- 
out were  fightings,   and  within  were  fears,     Yet,  in.  the 

3  <i 


412  CHURGH    MUSIC. 

midst  of  perils,  they  did  all  that  was  necessary,  by  example 
as  well  as  by  precept,  to  give  the  highest  sanction  to  the  art. 
The  first  annunciation  of  a  Saviour's  birth  was  immediately 
celebrated  by  a  song  of  angels.  The  disciples  sang  at  the 
sacramental  supper.  Paul  and  Silas  sang  at  midnight  in  the 
depths  of  a  dungeon:  and  the  Revelation  of  St.  John,  con- 
tains such  high-wrought  specimens  of  minstrelsey  as  show 
clearly,  that  the  art  was  expected  to  lose  nothing  of  its  real 
power,  under  the  fulness  of  a  gospel  dispensation. 

But  again.  If  we  examine  more  minutely  these  speci- 
mens of  consecrated  poetry,  we  shall  find  that  in  general, 
they  presuppose  an  elevated  state  of  the  affections,  as  ne- 
cessary to  the  very  commencement  of  the  exercise  of  sing- 
ing. There  is  often  required  a  more  entire  commitment  of 
soul  to  God,  in  these  songs  of  praise,  than  usually  takes 
place  in  the  exercise  of  social  prayer. 

This  is  a  remarkable  circumstance,  and  one  which  is 
full  of  instruction.  In  prayer,  for  instance,  we  plead  for 
the  grace  of  humility  :  but  in  song,  the  Psalmist  says, — 
"Lord,  my  heart  is  not  haughty," — "My  soul  was  as  a 
weaned  child  before  thee."  In  prayer  we  plead  for  the 
grace  of  submission  :  the  Psalmist  says,  "  I  was  dumb,  I 
opened  not  my  mouth  because  thou  didst  it."  In  prayer 
we  ask  for  fixedness  of  strength,  for  the  spirit  of  love  and 
obedience:  the  Psalmist  exclaims — " My  heart  is  fixed,  O 
God  my  heart  is  fixed.'' — "  O,  how  love  I  thy  law  ;  it  is 
my  meditation  all  the  day." 

In  perfect  accordance  with  this  statement  is  the  fact,  that 
singing  appears  anciently  to  have  been,  for  the  most  part, 
introduced  as  a  sort  of  climax  in  the  exercises.  Witness  the 
services  at  the  dedication  of  the  temple.  Skilful  leaders 
were  chosen  on  the  occasion.  The  wise,  the  pious,  and  the 
honourable  were  among  them ;  and  the  singers  stood  close 
by  the  altar.  Yet,  we  hear  nothing  of  the  singing  till  the 
countless   sacrifices  had  been  offered,  accompanied  by  the 


CHURCH    MUSIC.  413 

prayers  of  the  people :  nor  even  then,  till  the  priests  had 
taken  the  ark,  that  holy  symbol  of  the  covenant,  and  placed 
it  within  the  oracle.  But  when  all  this  had  been  accom- 
plished, and  the  people  were  thus  prepared  for  the  exercise, 
"  it  came  to  pass,  as  the  trumpeters  and  singers  were  as  one, 
to  make  one  sound,  to  be  heard  in  praising  and  thanking 
the  Lord, — saying,  For  the  Lord  he  is  gdod,  for  his  mer- 
cy endureth  forever,  that  then  the  house  was  filled  with  a 
cloud,  even  the  house  of  the  Lord."  Then,  and  not  till 
then,  was  manifested  the  special  symbol  of  the  Divine  pre- 
sence ;  and  it  then  appeared  in  such  majesty,  that  even  "  the 
priests  could  not  stand  to  minister  by  reason  of  the  cloud ; 
for  the  glory  of  the  Lord  had  filled  the  house  of  God." 
Here  was  an  order  of  the  exercises  instituted  by  God  him- 
self; and  left  on  record  for  the  instruction  of  future  genera- 
tions. The  same  order  appears  substantially  in  the  early 
history  of  the  Christian  dispensation.  The  song  of  angels 
was  preceded  not  followed,  by  the  story  of  a  Saviour's 
birth.  The  singing  at  the  sacramental  supper  was  preceded 
by  a  participation  of  the  sacred  emblems.  The  same  ana- 
logy is  preserved  throughout  the  book  of  Revelation.  The 
songs  of  the  heavenly  hosts  are  all  preceded  by  some  marked 
and  special  displays  of  the  Divine  glory.  There  the  sing- 
ing is  neither  a  preparative  to  devotion,  nor  a  "  drop-scene" 
in  the  exercises.  It  is  called  for  by  the  attendant  circum- 
stances, and  bursts  forth  spontaneously  from  the  enraptured 
bosoms  of  the  worshippers. 

It  appears  also  from  the  history  of  the  art,  no  less  than 
from  the  preceding  observations,  that  singing  in  the  churches 
was  an  exercise  peculiarly  spiritual.  The  apostle  seems 
to  convey  this  idea,  when  he  says  "  Is  any  among  you  afflic- 
ted? let  him  pray.  Is  any  merry  *?  [joyful  or  possessing 
elevated  affections,]  let  him  sing  psalms."  The  fathers 
understood  the  subject  in  the  same  analogy  ;  so  did  the  re- 
formers. Both  have  left  their  testimony  in  favor  of  the 
benign  influence  of  this  part  of  the  services. 


41  4  ■   HUK.CH    MUSK  . 

The  Bible,  then,  as  we  have  said,  furnishes  us  with  the 
themes  of  song  which  are  peculiarly  spiritual ;  and  these 
themes,  or  the  substance  of  them,  must  ever  constitute  the 
basis  of  devotional  music.  We  will  now  add  what  is  equally 
obvious,  that  the  music,  according  to  the  nature  of  the  insti- 
tution proposes  to  superadd  something  of  its  own,  to  the 
interest  and  solemnity  of  the  themes. 

Poetry  is  the  language  of  feeling  ;  and  music,  when  pro- 
perly  applied  to  it,  is  expected  to  heighten  its  influence.  A 
sentiment  of  penitence,  for  instance,  may  be  supposed  under 
favorable  circumstances,  to  produce  some  given  degree  of 
emotion,  though  expressed  in  the  humblest  prose.  Let  the 
same  sentiment  be  uttered  in  that  species  of  poetry  which 
speaks  to  the  heart ;  and  according  to  the  acknowledged 
principles  of  human  instrumentality,  we  may  look  for  a 
higher  degree  of  emotion.  Now  music,  which  is  also  the 
language  of  feeling,*  proposes  to  assist  our  devotions,  by 
superadding  something  of  its  own,  for  the  further  increase  of 
emotion  ;  and  if  it  generally  fails  to  do  this,  then,  most  un- 
doubtedly, it  fails  to  answer  the  I  design  of  the  institution. 
The  subject  matter  is  furnished  to  our  hand  ;  the  themes 
carry  with  them  their  own  definite  interest ;  and,  if  while 
singing  them,  we  cannot  habitually  discover  the  increase  of 
pious  emotion  ;  then  we  may  rest  assured  that  we  are  not 
deriving  legitimate  effects  from  the  institution. 

Now,  we  venture  to  ask,  whether  this  is  not  the  precise 
state  of  the  case  in  most  of  the  worshipping  assemblies 
throughout  the  land  ;  and  we  make  the  suggestion  after 
years  of  the  most  careful  and  extensive  observation. 

Go  where  we  may  into  the  place  of  worship,  there  is  the 
solemn  stillness  of  devotion,  while  the  Scriptures  are  read, 
while  prayer  is  offered,  and  while  the  sermon  is  delivered. 
Also  while  the  minister  is  reading  the  psalm  or  hymn  in 
ever  so  indifferent  a  manner,  there  is  generally  the  appear- 

*  At  least,  it  ought  to  be  such  a  language. 


(  HURCH    MUSK  .  415 

aace  ot  attention  and  solemnity.  Not  so  when  the  singing 
commences.  Then  the  congregation  are  either  on  the  one 
hand,  gazing  at  the  select  performers  to  admire  the  music  ; 
or,  on  the  other,  expressing  their  dissatisfaction  by  general 
symptoms  of  restlessness.  The  latter  case  is  the  most 
common.  While  the  minister  is  reading  the  themes,  then 
there  is  devout  attention  ;  but  when  the  exercise  com- 
mences, which  according  to  its  nature,  should  superadd 
something  to  the  pious  interest  of  these  themes ;  then  we 
observe  the  universal  appearance  of  restlessness  or  relaxa- 
tion. The  words  require,  perhaps,  a  more  entire  commitment 
of  soul  before  God,  than  is  usually  implied  in  the  office  of 
social  prayer.  Do  the  congregation — does  even  the  minis- 
ter, join  in  the  petitions,  and  professions,  and  vows  which 
are  taken  upon  the  lips  of  the  singers  ?  No  ;  most  evidently 
they  do  not ;  for  their  attention  for  the  most  part,  is  diverted 
from  the  subject.  The  minister  is  turning  over  the  leaves  of 
the  Bible  ;  adjusting  the  pages  of  his  manuscript,  examining 
a  written  notice  which  is  handed  him  ;  beckoning  to  the  sex- 
ton ;  whispering  with  some  one  who  sits  by  his  side  ;  or 
leaving  the  desk  to  speak  with  some  member  of  the  congre- 
gation relative  to  an  appointment,  or  to  some  clergyman 
sitting  below,  whose  assistance  is  desired  in  the  pulpit.  Ail 
this,  and  often  much  more  is  done  directly  in  presence  of 
the  congregation  ;  and  the  example,  of  course,  loses  nothing 
from  its  conspicuity.  The  sexton  follows  it,  in  the  perform- 
ance of  his  noisy  offices  ;  the  silent  worshippers  too,  are  in 
motion,  and  even  the  singers,  perchance,  where  there  is  a 
choir,  are  gazing  about  the  house,  to  ascertain  whether  any 
one  is  pleased  with  their  style  of  performance.  In  some 
churches  we  even  see  the  penny  contribution  box  handed 
round  during  the  exercise.  Are  these  the  characteristics  of 
spiritual  worship  ?  By  no  means.  Yet  abuses  of  this  nature 
are  generally  prevalent  in  the  churches  ;  and  they  are  al- 
most endlessly  diversified  in  character.  The  language  of 
such  a  state  of  things  cannot  possibly  be  misinterpreted. 


4  16  <   HURCH    MUSK. 

But  there  is  a  single  fact  in  the  history  of  the  art  which 
pours  additional  light  upon  the  subject.  The  music  of  the 
ancients  up  to  the  third  century  of  the  Christian  era,  was 
scarcely  any  thing  more  or  less  than  a  refined  species  of  ora- 
tory, cultivated  in  such  a  manner,  as  to  give  to  the  words, 
not  only  a  melodious,  but  a  distinct  and  impassioned  enun- 
ciation. This  was  undoubtedly  its  character,  when  the  laws 
of  the  institution  were  established  ;  and  it  had  the  same 
character,  when  the  examples  of  singing  were  recorded  in 
the  New  Testament.*  The  precepts  of  the  Bible,  also  re- 
ferring to  "  the  understanding,"  as  well  as  to  "  the  heart," 
require  this  express  feature  of  the  art ;  and  the  modern  rules 
of  composition  and  execution,  if  rightly  interpreted,  fully  re- 
cognise its  existence  in  theory  at  the  present  day. 

Here  then,  is  it  not  evident  that  the  churches  have  de- 
parted from  the  very  first  principles  of  devotional  music  ? 
The  Bible  furnishes  the  language  of  the  themes  ;  but  in  sing- 
ing we  annihilate  this  language.  The  Bible  requires  us  to 
sing  to  edification;  but  we  sing  virtually  in  an  unknown 
tongue.  The  words  are  not  distinctly  uttered — are  not 
heard.  The  music  instead  of  augmenting  the  interest  of  the 
themes,  actually  does  away  their  character. 

It  is  not  enough  to  say,  as  an  apology  in  this  connexion, 
that  the  words  are  first  read,  and  afterwards  placed  before  us. 
For  in  most  cases  we  fear  they  are  read  but  indifferently  in 
the  first  instance  ;  and,  as  we  have  seen,  they  afterwards  re- 
ceive comparatively  but  little  attention.  Yet,  were  the  fact 
otherwise,  the  plea  would  be  inadmissible  :  for  vocal  music 
is,  or  should  be,  the  very  soul  of  elocution  itself.  It  proposes 
to  superadd  something  to  the  themes  of  song  ;  not  to  destroy 
or  neutralize  them.  It  proposes  to  enforce  them  by  the  pow- 
er of  a  distinct  and  impressive  enunciation — not  to  substi- 
tute a  monotonous  style  of  reading,  as  a  preparative  which 
is  to  be  followed  by  inattention  and  the  confusion  of  tongues. 

*  See  Burner's  History  of  Music. 


CHl'R<  H     Ml  SI<  .  417 

Taking  the  Bible  as  a  standard  then,  our  worshipping  assem- 
blies may  here  discover  how  widely  they  have  departed  from 
the  ancient  simplicity  of  singing"  with  the  spirit  and  the  un- 
derstanding,"— singing,  and  "  making  melody  in  their  hearts 
to  the  Lord." 

Some  writers  of  high  respectability,  however,  tell  us  that 
music  has  lost  in  a  great  measure,  its  original  power  over  the 
human  mind  ;  and  that  we  are,  therefore,  no  longer  to  ex- 
pect such  results  from  it  as  were  realized  in  ancient  times. 
This  position  serves  as  a  quietus  to  the  conscience  of  thou- 
sands who  would  otherwise  be  awakened  to  the  conviction 
of  personal  responsibility.  And,  indeed,  if  the  position  is 
a  sound  one,  we  see  not,  but  the  thousand  may  still  sleep 
on,  without  ever  thinking  of  a  remedy.  Nay,  more — if  this 
position  is  tenable,  then  it  will  follow,  of  course,  that  the 
institution  of  psalmody  has  become  a  thing  of  nought — that 
the  grand  themes  of  salvation  must  hereafter,  of  necessity, 
be  depreciated  as  they  fall  from  the  lips  of  the  worshipper. 
Yes,  if  the  position  is  true,  we  may  even  infer  from  it,  that 
the  Omniscient  founder  of  the  institution — with  reverence 
be  it  spoken — has  committed  a  great  oversight ;  has  given  us 
a  species  of  language  for  our  edification,  which  could  not 
retain  its  required  character,  while  yet  the  laws  respecting 
it,  as  instituted  by  Himself,  were  to  remain  unalterahle. 
Those  who  would  be  shocked  at  the  impiety  of  such  a  con- 
clusion, would  do  well  to  pause,  before  adopting  a  position 
which  necessarily  leads  to  it. 

Speaking  of  the  art  as  it  is,  in  its  present  neglected  state, 
we  must,  indeed,  acknowledge  that  it  has  lost  some  of  its 
power  over  the  susceptibilities  of  the  human  mind;  but  to 
say  that  this  loss  is  irretrievable  is  a  position  which  we  ut- 
terly deny.  Nothing  could  be  further  from  the  truth, 
as  will  be  abundantly  shown  in  the  course  of  these  remarks. 
Nor  is  there  the  least  difficulty  in  restoring  the  art  to  its  pro- 
per basis,  but  what  arises  from  a  habit  of  indifference,  and  a 
want  of  correct  information. 


41i>  CHURCH    MUSIC. 

But  again,  some  will  be  ready  to  tell  us,  that  low  as  the 
art  is,  in  its  practical  results,  its  pretensions  are  even  now, 
elevated  high  above  their  reach  ;  and  that  it  is  useless,  there- 
fore, to  come  forward  with  additional  requirements.  But 
here  we  beg  leave  to  say,  that  the  things  we  are  about  to 
propose,  are  neither  very  new  nor  difficult,  however  much 
they  may  have  been  forgotten.  And  we  would  add,  also, 
that  much  of  what  is  called  cultivation  at  the  present  day, 
is  so  far  from  being  indispensable  to  the  art  of  psalmody, 
that  it  proves,  when  thus  applied,  to  be  nothing  more  nor 
less,  than  the  work  of  misdirection. 

To  illustrate  the  full  importance  of  this  last  remark,  would 
lead  us  too  far  from  the  present  design.  We  shall  now 
proceed  to  speak  only  of  those  properties  of  style,  which  in 
church  music  may  be  termed  radical.  This  we  shall  do  in 
as  few  words  as  possible. 

The  grand  desideratum  in  church  music,  it  must  be  re- 
membered, is,  to  unite  the  singing  with  the  speaking  tones, 
in  such  a  manner  as  to  produce  a  distinct  and  impressive 
enunciation. 

The  first  thing  required  is  a  good  voice.  It  is  the  opinion 
of  experienced  vocalists,  that  almost  every  one  might  learn 
to  sing,  if  the  necessary  instructions  were  given  in  early 
life.  A  musical  ear  or  a  fine  tone,  is  in  no  instance,  the 
exclusive  gift  of  nature.  Either  may  be  vitiated  by  bad 
management,  lost  by  neglect,  or  recovered  by  practice.  The 
most  gifted,  require  cultivation;  and  those  who  are  the  least 
susceptible,  are  found  to  improve  under  it  more  or  less,  ex- 
cept in  extreme  cases.*  Any  person  who  would  preserve 
his  voice  from  decay,  or  recover  it  when  it  has  decayed, 
must  use  it  freely  and  constantly.  The  revival  of  the  an- 
cient practice  of  singing  in  family  worship,  would  secure 

We  know  that  some  will  deny  this :  but  we  are  aware  also,  that 
the  best  methods  of  cultivation  are  but  little  understood  by  the  gene- 
rality of  teachers. 


CHURCH   MtJSIC.  419 

both  of  these  objects.  If  this  subject  was  fairly  understood, 
would  not  multitudes  who  now  plead  the  want  of  voice, 
or  ear,  or  strength,  or  lungs,  in  excuse  for  their  neglect,  be 
readily  convicted  of  delinquency  ? 

The  second  thing  required,  is  a  knowledge  of  time.    This 
knowledge,  so  far  as  an  efficient  style  of  psalmody  is  con- 
cerned, might  be   easily   gained    by  cultivation.     To   say 
nothing  in  this  place,  of  the  intrinsical  importance  of  time, 
there  are  two  reasons  why  it  should  be  kept  with  accuracy. 
The  first  refers,  to  the  preservation  of  that  harmony  which 
results  from  the  union  and  combination  of  voices,  without 
which,  a  performance  must  wholly  cease  to  he  musical.    The 
second   refers   to   the  simultaneous  utterance  of  syllables 
which  is  equally  indispensable  to  the  preservation  of  a  dis- 
tinct language.     Singers  are  generally  deficient  in  time.    In 
the  uncultivated  style  of  congregational  singing,  it  is  never 
kept  with  any  degree  of  accuracy  ;  and  while  one  singer 
presumes  to  lead   the  whole,  by  the  mere  powers  of  his 
voice  or  instrument,  it  is  impossible  that  it  ever  should  be. 
There  is  evidently,  according  to  this  arrangement,  a  mecha- 
nical necessity  for  singing  out  of  time. 

Accent  and  emphasis  have  also,  so  far  as  mere  music  is 
concerned,  their  intrinsical  importance.  These  with  the 
properties  already  noticed,  and  their  usual  concomitants, 
may  be  considered  as  together  constituting  upon  the  lowest 
estimate,  the  fundamentals  of  correct  execution,  and  they 
may  be  all  inculcated  with  the  greatest  facility  by  the  skil- 
ful instructer.  Most  of  our  musical  cultivation,  however, 
proceeds  thus  far,  and  here  spends  itself  upon  the  endless 
refinements  of  harmony,  melody,  and  rhythm,  to  the  almost 
total  neglect  of  vocal  enunciation.  Yet  it  is  evident  that  all 
this,  unless  there  is  something  more,  must  pass  for  nothing 
in  the  account  of  Christian  worship.  For,  as  an  apostle 
says,  "unless  they  give  a  distinction  in  the  sounds,  how  shall 
it  be  known  what  is  piped  or  harped  V- — "  If  I  know  not  the 

3   H 


420  -  BURCH    MUSIC. 

meaning  of  the  voice,  I  shall  be  unto  him  that  speaketii,  a 
barbarian  ;  and  he  that  speaketh  shall  be  a  barbarian  unto 
me."  Yet  as  the  art  of  singing  is  cultivated  at  the  present 
day,  it  may  call  forth  all  its  powers  and  combinations,  deck 
itself  with  every  charm  of  the  muses,  and  waken  even  the 
fastidious  critic  into  raptures  ;  and,  at  the  same  time,  leave 
the  language,  for  the  most  part,  perfectly  dead  and  unin- 
eltligible.  Indeed,  so  extensively  has  vocal  enunciation 
been  neglected  in  our  best  performances,  that  many  res^ 
pectable  teachers  have  been  known  to  pronounce  it  imprac- 
ticable. 

The  secret  of  a  good  articulation  is  soon  told.  The  vow- 
els only,  are  sung  :  the  consonants,  consisting  of  mutes  and 
semi-vowels  are  whispered,  or  uttered  as  in  speech,  only 
wTith  greater  precision,  distinctness,  and  force.  Take,  for 
example,  the  word  thrive.  The  first  three  letters  are  whis- 
pered in  a  forcible  manner,  as  an  introduction  to  the  musical 
sound  on  the  letter  t,  which,  when  sufficiently  prolonged, 
terminates  in  the  utterance  of  v,  effected  by  bringing  thu 
upper  teeth  in  close  contact  with  the  under  lip,  so  as  to  vi- 
brate it,  and  then  forcing  the  breath  between  them.  Here 
the  i,  only  is  sung ;  the  rest  of  the  letters  arc  articulated. 
Singers  in  general,  confine  their  attention  to  the  vowels, 
while  the  consonants  are  either  uttered  too  fceblv,  or  omiu 
ted,  or  transposed,  as  in  the  following  example  : 

"  He  feeds  and  cheers  them  by  his  word," 
?ef   eed    san'    chee'  sthem  'y  'i    sivor, 

If  the  singers  are  merely  exhorted  in  general  terms,  to 
"sing  the  words  with  greater  distinctness, "  they  will  only 
lay  the  more  stress  upon  the  vowels,  which  has  an  effect  di- 
rectly opposite  to  the  one  intended.  But  let  the  secret  of 
the  art  be  revealed  to  them,  and  their  errors  pointed  out 
for  a  while  at  the  moment  of  their  occurrence,  and  the  re- 
quired result  will  soon   be  realized.     The  rules  of  articuja- 


CHURCH   MUSIC.  421 

tion  are  easily  reduced  to  practice.  Even  the  pupils  of  an 
infant  school  have  been  known  to  profit  by  them,  so  far,  as 
in  their  multitudinous  efforts  at  singing,  to  articulate  with 
perfect  distinctness.  What  children  so  readily  learn,  may 
be  easily  acquired  by  adults.  Where  then  is  to  be  found 
excuse  for  delinquency? 

Articulation  alone,  however,  does  not  constitute  language. 
The  following  lines,  for  instance,  when  deliberately  uttered, 
with  an  equal  stress  upon  each  syllable,  will  scarcely  con- 
vey an  intelligible  meaning  : — 

"Fear — not — the — want — of — out-ward — good — 
For — his — he — will — pro»vide — " 

Before  this  language  can  be  rendered  perspicuous,  syllables 
must  be  arranged  into  words,  and  words  into  phrases,  by 
sensible  pauses  too  minute  for  musical  notation :  the  words, 
also,  must  have  their  proper  accent,  and  some  of  them  must 
be  strongly  marked  by  emphasis  : 

':  Fear  not  |  the  want  of  owtfward  good; 
For  his  |  he  will  provide." 

These  requirements,  though  essential  to  the  nature  of 
language,  and  quite  within  the  reach  of  the  juvenile  mind, 
are  generally  neglected  in  church  music ;  and  the  only 
reason  why  every  one  is  not  disgusted  with  the  mono- 
tony which  hence  ensues,  is,  that  the  language  being  wholly 
annihilated  in  the  performance,  the  mind  rests  upon  the 
tune,  deriving  from  it,  by  the  power  of  association,  such  in- 
definite ideas  of  solemnity,  as  might  be  suggested  by  a  mu- 
sical instrument,  or  a  "church-going  bell."  But  the  mo- 
ment that  articulation  becomes  distinct,  the  further  claims 
of  language  present  themselves.  The  syllabical  manner  of 
utterance  must,  in  some  measure,  give  place  to  the  flow  of 
language,  with  its  accents,  emphasis,  momentary  pauses, 
and  pauses  of  longer  duration  where  the  sense  requires  it. 


422  CHURCH    MUSIC. 

ail  of  which,  though  not  expressly  pointed  out  in  the  musi- 
cal notation,  are  consistent  with  the  rules  of  the  art.* 

But  again.  It  is  no  less  obvious  that  the  claims  of  enun- 
ciation must,  to  some  extent,  govern  the  character  of  the 
movement,  as  to  slowness  or  rapidity.  The  force  of  the  lines 
above  quoted  would  be  lost,  if  the  utterance  were  to  be 
retarded  by  a  \ery  slow  time.  A  quick  movement,  on  the 
contrary,  would  as  infallibly  destroy  the  sentiment  contained 
in  the  following  lines  : 

The  Lord  !  how  fearful  is  his  name ! 
How  wide  is  his  command  J 

"Fliis  distinction  is  so  obvious  as  not  to  need  a  moment's 
illustration  ;  yet,  it  seems  scarcely  to  have  been  thought  of, 
by  our  compilers  and  teachers  of  psalmody. t 

The  enunciation  is  also  frequently  injured  by  the  un- 
timely introduction  of  musical  graces  or  embellishments. 
This  is  especially  the  case  in  the  simple  congregational  style, 
where  every  one  manages  according  to  his  own  notions  of 
taste.  The  discrepancies  which  thus  arise,  would  often  pre- 
vent the  words  from  being  understood,  even  where  there 
was  no  other  difficulty. 

But  further. — Mere  distinctness  and  propriety  of  utterance 
will  not  alone  suffice.  For  the  enunciation,  as  we  have  seen, 
should  be  impassioned.  It  should  be  loud  or  soft,  slow  or 
rapid — should  kindle  with  the  sentiment,  or  diminish  as  the 

*  Long  pauses  in  the  midst  of  a  line,  however,  are  very  dfficult  of 
execution;  and  for  this  reason,  the  poet  who  would  furnish  us  witli 
suitable  hymns,  should  never  place  them  there.  The  line — "  He  died : 
the  heavens  in  mourning  stood,"  may  serve  as  an  example  in  point. 
Omit  the  pause,  and  take  breath,  as  is  usually  done,  after  the  word 
"  heavens,"  and  the  proposition  is,  that  he  coloured  the  heavens. 

f  The  claims  of  sacred  poetry,  are  thought  of  still  less,  it  would 
seem,  by  the  compilers  of  psalms  and  hymns.  And  a  similar  species 
of  inattention  is  very  observable  among  clergymen,  in  selecting  por- 
tions to  be  sung. 


CHURCH    MUSIC,  4^3 

cast  of  thought  is  varied.  In  short,  it  should  partake  more 
or  less,  of  the  nature  of  oratorical  delivery  ;  and  for  this  too, 
the  art  of  style  makes  ample  provision.  A  loud  tremulous 
tone,  unvaried  in  its  intensity,  is  expressive  of  alarm,  terror, 
or  distress.  A  tone  loud  and  abrupt  at  its  commencement, 
but  rapidly  diminished  in  its  intensity,  is  characteristic  of 
joyous  emotions.  A  tone  just  the  reverse  of  this,  characte- 
rises sentiments  of  exultation,  irony,  burlesque  ;  while  a  tone 
formed  delicately,  by  the  union  of  the  two  emphases,  last 
mentioned,  (*.  e.  by  a  swell  and  diminish,)  is  susceptible  o£ 
the  highest  degree  of  pathos.  These  four  forms  of  empha- 
sis, more  or  less  distinctly  marked,  and  continually  varying 
in  character,  according  to  the  nature  or  strength  of  the  sen- 
timent, are  applicable  to  almost  every  emotion  of  which  the 
human  mind  is  susceptible.  When  explained  and  illustra- 
ted by  oral  examples,  a  child  may  understand  them  and 
reduce  them  to  practice.  They  form,  in  some  sense,  a  lan- 
guage of  emotions  which  may  be  applied  as  the  words 
require.  That  they  have  been  so  generally  neglected  and 
forgotten,  is  attributable  in  part,  to  a  circumstance  already 
mentioned — the  total  absence  of  vocal  enunciation.  Let  the 
words  but  once  begin  to  receive  a  distant  utterance,  and  we 
shall  soon  begin  to  feel  the  wrant  of  characteristic  expression. 
We  shall  here  be  told,  perhaps,  that  music  has,  within  it- 
self, aside  from  the  consideration  of  articulate  sounds,  the 
power  of  controlling  the  emotions  ;  and  that,  therefore,  the 
claims  of  enunciation  are  comparatively  unimportant.  We 
admit  the  fact  alleged  ;  but  we  deny  the  inference.  The 
latter,  is  indeed  just  opposite  to  the  one  we  should  have  de- 
duced. If  certain  sounds,  in  themselves  considered,  have 
such  power  over  the  emotions ;  then  why  should  not  these 
sounds  be  superadded  to  the  consecrated  language  ?  This  is 
the  very  thing  contemplated  in  the  institution  of  psalmody. 
The  characteristic  tones  which  nature  furnishes,  must  an- 
ciently have  had  as  much  power  as  they  now  posses*  ;  vet 


4:24  (IiLRCH    ML  61*  . 

Infinite  Wisdom  saw  fit  to  employ  distinct  and  intelligible 
language  as  the  basis  of  psalmody,  leaving  characteristic 
tones  to  be  employed  only  in  the  superstructure.  And,  if 
we  attempt  to  substitute  the  one  of  these  for  the  other,  we 
must  do  it  without  the  least  authority.  We  ourselves  well 
know  the  influence  of  these  tones.  We  have  often  felt  it. 
We  know  that  even  instruments,  aside  from  voices,  mav 
speak  powerfully  through  the  imagination  to  the  heart.  But 
in  the  important  business  of  worship,  who  shall  fully  under- 
stand their  language  ?  Who  can  calculate  on  the  precise 
nature  of  their  appeal  ?  Certainly,  they  here  need  the  living 
voice  of  appropriate  enunciation,  as  an  interpreter.  This 
voice  is  capable  of  conveying  ideas  with  precision  and  ener- 
gy ;  and  when  seconded,  as  it  ever  ought  to  be,  by  the  cha- 
racteristic tones  which  nature  places  within  the  reach  of 
obvious  cultivation,  its  power  in  psalmody  is  irresistible. 
The  nature  of  these  characteristic  tones,  as  connected  with 
emotions,  we  have  just  briefly  considered.  How  evident  is 
it,  that,  till  these  are,  in  some  measure,  understood,  we  do 
not  begin  to  superadd  any  thing  of  special  interest  or  solem- 
nity to  the  themes  of  song. 

But  once  more.  It  is  perfectly  evident,  that  in  music,  as 
well  as  in  other  species  of  oral  communication,  there  may 
be  the  exhibition  of  sentiment,  without  any  thing  like  the 
spirit  of  real  eloquence.  There  may  be  the  form  of  oratory 
without  the  unction.  There  may  be  the  exhibition  of  much 
skill  and  cultivation,  both  as  to  tones  and  language,  while 
yet  the  music  is  quite  destitute  of  true  devotional  expression. 
It  would  be  strange,  indeed,  if  the  fact  were  otherwise.  WTe 
find  this  principle  exhibited  at  times  in  religious  conversation, 
in  reading,  in  preaching,  in  social  prayer.  Where  is  the 
Christian  who  has  not  sometimes  felt  it,  till  his  very  soul 
would  seem  to  die  within  him  ?  Hence,  the  necessity  of  a 
careful  preparation  for  these  exercises,  the  necessity  of  watch- 
fulness, of  meditation,  of  secret  prayer,  of  keeping  "  a  con- 


CHURCH   MtJSlC.  -I'll) 

science  void  of  offence  towards  God  and  towards  man." 
And  is  it  possible  that  church  music  should  form  an  excep- 
tion against  this  rule  ?  May  we  here,  by  mere  dint  of  culti- 
vation, acquire  a  species  of  language  which  will  generally 
secure  results  that  are  highly  spiritual,  as  by  the  influence 
of  mere  machinery  ?  The  supposition  would  be  impious. 
Spiritual  worship  must  be  conducted  by  spiritually-minded 
worshippers.  The  principle  is  true  of  every  other  species 
of  religious  exercise  ;  and  shall  it  not  hold  good,  in  reference 
to  an  exercise,  which,  according  to  its  divinely  constituted 
nature,  is  peculiarly  distinguished  for  its  spirituality  ?  Chris- 
tians cannot  be  edified  even  in  conversation,  unless  thev 
4C  speak  often  one  to  another."  The  Bible,  unless  there  is 
the  habit  of  constantly  reading  it,  will  prove  but  a  sealed 
book  to  them  ;  preaching  requires  preparatory  exercises, 
both  in  the  study  and  in  the  closet ;  and  the  same  is  abun- 
dantly true  of  social  prayer.  But,  may  Christians  enter  at 
once  without  preparation,  upon  an  exercise  which  more  es- 
pecially requires  an  elevated  state  of  the  affections  ?  May 
they  here  presume  to  commence  their  devotions  "  as  the 
horse  rusheth  into  the  battle,"  and  yet  be  enabled  at  once 
to  pour  out  their  full  hearts  in  the  themes  of  supplication  or 
praise  ?  May  they  here  plead  the  promises  ? — implore  for- 
giveness ? — break  forth  into  expressions  of  gratitude  ? — pay 
their  solemn  vows  to  the  Most  High  ? — call  upon  every  thing 
that  hath  breath  to  praise  him  I — call  upon  the  floods  to 
clap  their  hands,  and  to  be  joyful  together  before  the  Lord? 
Yet  the  thing  is  continually  attempted  without  the  least  sus- 
picion of  its  impropriety.  Even  at  the  commencement  of 
the  exercises  of  public  worship,  while  the  worshippers  are 
yet  assembling,  while  the  trampling  of  feet  is  heard,  while 
the  doors  are  grating  upon  their  hinges,  and  alI,£compara- 
tively  speaking,  is  noise  and  confusion — just  then,  the  sing- 
ers have  often  been  directed  to  "  break  forth  in  a  shout  of 
sacred  joy" — or  in  lt  loud  hallelujahs  to  the  Lord  !" 


42t>  CHUBCH    Ml  SIC. 

And  who  are  they  that  thus  commence  these  lofty  themes, 
these  soul-stirring  accents  of  holy  joy !  Who  are  they  that 
essay  to  mingle  the  earthly  lispings  of  praise  with  the 
"  mighty  thunderings"  of  the  upper  sanctuary  !  Perhaps 
they  are  a  few  thoughtless  individuals  who  confessedly  have 
neither  part  nor  lot  in  this  matter — individuals  who  have 
cultivated  sacred  song  for  purposes  of  mere  amusement, 
tasteful  gratification,  or  display.  Possibly  their  teacher  too, 
was  a  base  man,  or  their  present  leader  is  an  infidel.  And  if 
the  music  has  much  professional  excellence,  it  is  more  than 
probable,  that  the  performers  are  indebted  to  the  theatre  for 
it.  Or,  on  the  other  hand — suppose  the  performers  to  be 
scattered  through  the  whole  assembly  where  all  is  bustle,  in- 
attention, and  noise.  One  half  of  the  multitude  do  not  pre- 
tend to  sing,  or  even  to  look  at  the  words.  Not  a  syllable  is 
distinctly  uttered.  There  is  neither  tune,  time,  articulation, 
accent,  emphasis,  or  characteristic  expression.  There  is 
virtually,  no  theme  employed  in  the  song  ;  and  no  song  that 
could,  of  itself,  superadd  any  thing  to  the  theme.  All  is 
jargon — systematic  jargon !  A  few  individuals  whose  musical 
susceptibilities  are  happily  obtuse,  and  whose  souls  are 
hungry  for  the  bread  of  life,  may  glean  a  little  from  the  ex- 
ercise and  think  it  solemn  and  impressive ;  but  it  is  need- 
less to  say  that  not  one  of  the  rest  of  the  assembly  can  be 
edified. 

How  evident  is  it  then,  from  all  these  considerations,  that 
there  should  be  a  thorough  work  of  reform  in  this  portion 
of  the  services.  Music  has  indeed,  been  cultivated  in  many 
places  to  a  considerable  extent.  The  countless  refinements 
of  melody  and  harmony,  of  modulation,  of  measure,  of  move- 
ment, have  sometimes  been  sought  out  and  cherished  with 
great  industry  and  zeal ;  and  where,  from  the  vicinity  of 
the  theatre,  professional  performers  could  be  obtained ; 
the  charms  of  a  powerful  orchestra,  of  a  thundering  chorus, 
of  a  melting  solo  or  duet,  with  every  thing  that  is  tasteful  in 


«  UURC1I    MLsl<  .  427 

musical  execution,  and  descriptive,  or  impassioned  imitation, 
have  been  put  into  requisition  for  the  public   amusement. 
Many  have  been  greatly  delighted  by  such  performances ; 
nor  do  we  ourselves  pretend  to  be  without  susceptibility. 
But  what  has  all  this  to  do  with  the  plain  business  of  wor- 
shipping God  ?    The  journalists,  to  be  sure,  have  often  told 
us  that  it  is  the  very  thing  required  to  give  tone  to  the  music 
of  our  worshipping  assemblies.     Go  then  to  the  oratorial  re- 
hearsal.   Draw  back  the  curtain  before  you.     See  that  pro- 
fessional performer,  the  victim  of  intemperance,  staggering 
alon^z  into  the  orchestra.     Listen  to  his  song  "  I  know  that 
my  Redeemer  livcih,  and  that  he  shall  stand  at  the  latter 
day."     He  is  succeeded  perhaps  with  one  whose  mouth  has 
just  been  fouled  with  profaneness,  or  blasphemy.     He  gives 
the  professional  pathos  of  "  He  was  despised  and  rejected 
of  men.''1     Another,  whose   studied  attitudes  bespeak  her 
emphatically,  child  of  earth,  is  seen  pathetically  imploring 
the  angels  to  take  her  to  their  care.     And  now, perhaps 
you  will  hear  what  purports  to  be  the  voice  of  a  great  mul- 
titude,  as  the  voice  of  many  waters,  and  as  the  voice  of 
mighty  thundering,  saying  "Hallelujah,  for  the  Lord  God 
Omnipotent  reigncth."     Have  the  choir  and  the  orchestra, 
then,  at  length  caught  the  true  spirit  of  heaven  ?  The  com- 
poser, (he  too,  if  we  may  credit  his  biographer,  could  swear 
successively  in   five   different  languages,)   has   by  dint  of 
genius  almost  unparalleled,  produced  a  happy  arrangement 
of  the  music.     Do  we  now  hear  any  thing  like  the  emphasis 
of  joyous  heavenly  acclamations  ?  No,  nothing  like  it.   This 
and  all  the  other  powerful  choruses  must,  to  be  sure,  have 
the  same  orchestral  emphasis — the  strong  emphasis  ol  alarm, 
not  of  joy,  or  exultation. 

Give  to  these  men,  all  that  is  due  to  them  !  Place  them 
with  the  Campbells,  the  Scotts,  and  the  Byrons,  of  our  own 
times  ;  but  not  among  the  schools  of  the  prophets.     Let 

them  not  aspire  to  the  office  of  holy  David,  and  Asaph,  and 

3  i 


428  CHURCH    MUSIC. 

Heman,  and  Jeduthan.     As  well  might  we  ask  the  mere 
master  of  oratory,  to  preach  to  us,  or  lead  us  by  dint  of  his 
melifluous  tones,  in  the  exercise  of  social  prayer.     David, 
and  Asaph,  and  their  successors,  addressed  their  inspired 
poet'cal  effusions  "  to  the  chief  singers."    Would  they  have 
inscribed  them  to  such  characters  as  we  have  here  alluded 
to  ?    No  :  they  would  have  driven  them  from  their  service. 
Again,  we  say  there  must  be  a  reformation.     It  must  be 
begun,  and  carried  forward  perseveringly  on  Christian  prin- 
ciples.    Untiring  zeal  must  be  associated  with  intelligence 
and  sound  discretion.    Christians  must  not  rise  up  suddenly 
and  cast  out  the  minstrels  whom  they  have  so  long  permit- 
ted to  occupy  their  place.     They  themselves  have  been  the 
chief  delinquents.     And  if  we  mistake  not,  they  have  long 
been  suffering  the  consequences  of  such  delinquency.     We 
appeal  to  the  conscience  of  the  spiritually-minded  worship- 
per.    Why  is  it,  that  men  of  this  character,  have  in  late 
years,    almost   universally   absented   themselves   from   the 
schools  of  cultivation  ?    Why  have  they  so  generally  aban- 
doned devotional  singing  in  their  families?    Why  in  seasons 
of  revival,  have  they  so  often  discouraged  music  schools, 
and  nearly  excluded  singing  from  their  meetings  for  social 
prayer  1    Why  too,  have  the  clergy,  the  only  men,  who  of 
all  others,  could  exert  themselves  to  the  best  advantage  in 
this  cause,  so  generally  taken  the  lead  in  this  abandonment 
of  the  art?    W^hy  is  it,  that  at  the  present  moment  the  pre- 
ponderating influence  in  favor  of  church  music  is  without 
the   pale  of  the  visible  church?    The  reason  is  obvious. 
Christians  have  for  more  than  two  centuries  been  sleeping 
over  the  subject,  while  the  enemy  has  been  busily  sowing 
tares.     The  abuses  now  every  where  so  preponderate  that 
the  art  is  lost  upon  these  worshippers.     And  were  they  at 
length  to  rise  up  by  a  sudden  impulse,  to  restore  the  art  to  its 
required  rank  among  the  exercises  of  the  sanctuary  ;  it  is  to 
be  feared,  that  there  would  not  now  be  found  amon^  them 


ON    THE    S0NSH1P    OF    CHRIST.  ^l- 

influence,  or  skill,  or  intelligence,  sufficient  to  enable  them 
to  carry  the  object  into  successful  execution.  Christians 
must  first  become  cultivators,  to  some  extent,  in  their  own 
proper  persons,  before  they  can  understand  the  exact  length 
and  breadth  of  the  work  that  lies  before  them.  And  is  it  not 
time  to  commence  the  work  of  preparation  1  Surely,  the 
lame,  the  blind,  the  torn,  and  that  which  costs  them  nothing 
has  long  enough  been  offered  in  sacrifice.  God  is  a  Spirit, 
those  who  worship  him  must  worship  in  spirit  and  in  truth. 
He  is  a  just  God  ;  he  will  not  accept  of  robbery  in  the  sacri- 
fice of  praise.  He  is  a  zealous  God  ;  he  will  not  be 
mocked.     His  glory  he  will  not  give  to  another. 


OX  THE  SONSHIP  OF   CHRIST. 


One  of  the  most  difficult  points  of  knowledge,  is,  to  know 
how  much  may  be  known  ;  to  decide  where  the  limits  are 
to  be  placed  to  the  speculations  of  the  inquisitive  mind  of 
man.  Neither  philosophers  nor  theologians,  have,  in  any 
age,  observed  these  limits,  and  the  consequence  has  been, 
that  philosophy  and  theology,  instead  of  being  a  systematic 
arrangement  of  the  phenomena  of  the  material  and  spiritual 
world,  so  far  as  they  come  within  the  range  of  our  observa- 
tion, or  of  the  facts  revealed  in  the  word  of  God,  are  to  so 
great  an  extent,  the  useless  and  contradictory  speculations 
of  men  on  things  beyond  the  reach  of  our  feeble  powers. 
These  speculations,  as  it  regards  divine  things,  are  so  mixed 
and  enwoven  with  the  facts  and  principles  contained  in  the 
sacred  Scriptures,  that  it  is  no  easy  task  to  determine,  in 
every  instance,  what  is  revelation,  and  what  is  human  phi- 
losophy.    Yet  with  respect  to  almost  every  doctrine  of  the 


ON    THE    &OK5H1.F    OF    CHRIST. 

Christian  faith,  this  is  a  task,  which,  every  sincere  inquire  r 
after  truth,  is  called  upon  to  perform.  The  modes  of  con- 
ceiving of  these  doctrines,  in  different  minds  and  in  different 
ages,  are  so  various,  that  it  is  evident  at  first  view,  that 
much  is  to  be  referred  to  the  spirit  of  each  particular  age, 
and- to  the  state  of  mind  of  every  individual.  The  history 
of  theology  affords  so  much  evidence  of  the  truth  of  this 
remark,  that  it  probably  will  not  be  called  in  question.  It 
must  not  be  supposed,  however,  that  every  thing  either  in 
philosophy  or  theology  is  uncertain  ;  that  the  one  and  the 
other  is  an  ever  changing  mass  of  unstable  speculations. 
There  are  in  each,  fixed  principles  and  facts,  which,  although 
frequently  denied  by  men  whose  minds  have  so  little  sense 
of  truth,  that  evidence  does  not  produce  conviction,  have 
maintained,  and  will  maintain  their  hold  on  the  minds  and 
hearts  of  men.  With  regard  to  theology,  the  uniformity 
with  which  the  great  cardinal  doctrines  of  our  faith  have 
been  embraced,  is  not  less  remarkable,  than  the  diversity 
which  has  prevailed  in  the  mode  of  conceiving  and  ex- 
plaining them.  The  fact,  that  there  is  one  God,  and  that 
the  Father,  Son,  and  Holy  Ghost  are  this  God,  that  there  is 
such  a  distinction  between  the  Father,  Son,  and  Spirit,  as  to 
lay  a  sufficient  ground  for  the  reciprocal  use  of  the  personal . 
pronouns,  has  been  the  faith  of  the  Christian  church  from 
first  to  last.  And  yet  there  is  probably,  no  one  doctrine 
contained  in  Scripture,  which  has  been  so  variously  defined 
and  explained,  as  this.  In  the  earlier  ages  of  the  church, 
when  the  religion  of  the  Gospel  was  glowing  in  the  hearts 
of  all  the  followers  of  Christ,  when  it  was  peculiarly  a  re- 
ligion of  feeling,  it  was  not  to  be  expected  that  this  myste- 
rious doctrine  should  be  very  accurately  defined.  To  the 
early  Christians,  Jesus  Christ  was  God,  to  him  their  prayers 
were  directed,  their  praises  given — in  him  all  their  confi- 
dence was  reposed.  In  their  preaching,  sermons,  and  apo- 
logies, they  presented  God  the  Father,  Son,  and  Spirit, as  the 


